HK AUdio Lucas Nano compact PA reviewed

For the keyboardist whose gigs frequent the solo, duo, or typical small
venue setting, it’s exciting when a new portable sound system arrives on
the scene. The HK Audio Lucas Nano 300 promises to be an attractive
ultra-portable solution, but does it have the power, frequency range,
and clarity to get the job done? Let’s take it to some gigs.

The Lucas Nano 300 is a subwoofer-plus-satellites powered
speaker system. The subwoofer base contains the amplifier, mixer, and a
locking carry-cradle to store the satellites for transport. Pop it in
the optional roller bag, and you’ve got the whole system in one package
that weighs less than 25 pounds. We’re off to a great start as far as
portability goes.

Out of the box, you can set up the Lucas Nano in its stock
mono configuration, where the satellites are fastened to the top of the
subwoofer via mechanical couplers that also transmit audio. It’s a
clever feature that saves on cables, clutter, and time. For an alternate
mono configuration, attach the satellites to a speaker pole (mounted in
the subwoofer) and connect the bottom speaker to the subwoofer via a
cable.

Speaker poles and cables come in the “Add-on Package One,”
which was supplied with our review unit. This lets you set up the Nano
in stereo, which is how I ran it on my first gig test. The venue sat
around 200 people, on a stage with a modest front-of-house P.A. I used
the Nano as my sole monitor system, and my setup included stereo digital
piano and synths, plus a vocal mic and some miked acoustic hand
percussion. The system really comes alive in stereo—with each side about
four feet away, slightly behind my piano bench, I could easily set the
satellites to ear level. I was never at a loss for low end, and got
clean, clear sound without pushing the levels over the halfway point.

The second gig test employed the Nano as a keyboard
monitor with a medium-volume full band, in a same sized venue. Using the
stock mono setup (and placing the entire system on a tabletop close to
ear level), monitoring was again clean and clear, if not as warm and
pleasing as the stereo setup. Note the that Nano has no master volume
control, though there is a subwoofer level control. Instead, each input
has its own level control and a mysterious “contour” knob (labeled with
an eighth-note). For line-level signals, turning this knob up will boost
high and low frequencies while reducing midrange. When input 1 is set
to mic input, the contour knob adjusts an integrated filter “for
speech.” That’s a bit vague, but any tone tweakability is welcome.

The Nano could very well pull off being your sole
amplification system in a small venue, depending on how much you need to
put through it. The stereo setup is where it’s at, so consider that
when budgeting for the add-on package. While we didn’t have a second
system to test, we were intruiged by the Nano’s ability to link a second
sets of satellites to the subwoofer. There may be more powerful stage
monitors out there for the money, but few can match the portability and
gig-friendliness of the Lucas Nano 300.